Zentrum Des Klanges, Rand Der Stille Gesuch Um Förderung Für Die Residenz Im Merkurgarten in Zürich Im Juli 2018

Zentrum des Klanges, Rand der Stille Gesuch um Förderung für die Residenz im Merkurgarten in Zürich im Juli 2018

Verfasst von Mirjam Wanner, 2018

Mit Beiträgen von Esneider Gamboa, Tea Hatadi, Sylvia Jaimes, Almira Medaric, Bojan Mucko, Goran Skofc and Josip Zanki Daten Über das Projekt

Residenz im Merkurgarten, Zürich, vom 2. bis 7. Juli 2018 Das interdisziplinäre Kunstprojekt „Zentrum des Klanges, Rand der Stille„ eröffnet ein neues Feld der internationalen Zusammen- Ausstellung in der Greta Gallery, Zagreb, vom 18. bis 23. Septem- arbeit, indem es die Klanglandschaften von Städten, durch die ber 2017 Gravitationszonen und Peripherien von Zagreb, Zürich, Bogotá und Santa Marta erkundet: Mit der Lärmkartierung von urbanen Teilnahme am Suffest Festival, Krizevci, 15./16. September 2017 Zentren, versuchen die KünstlerInnen bekannte Orte, fremden Residenz in Zagreb vom 12. bis 24. September 2017 Zentren in eine bislang unerforschte Gegenüberstellung zu brin- gen, Punkte ihrer Annäherung und Auseinandersetzung zu erkun- Residenz in Santa Marta vom 7. bis 10. Februar 2017 den und neue Ebenen des Verständnisses zu eröffnen.

Residenz in Bogotá vom 28. January bis 12. Februar 2017 Initiiert wurde das Projekt 2016 von den kroatischen KünstlerIn- nen Tea Hatadi, Marta Banić und Bojan Mucko.

Projekt-Koordination in Bogotá: Esneider Gabmboa, Die Residenzen im Jahr 2017 in Kolumbien und Kroatien wurden Sylvia Jaimes, Ricardo Andrés Bautista unterstützt von der Kulturstiftung des Kantons Thurgau; dem Kulturministerium der Republik Kroatien; dem City Offce für Projekt-Koordination in Kroatien: Tea Hatadi, Josip Zanki Bildung, Kultur und Sport, Zagreb; der Stadt Krizevci; dem Kultur- ministerium von Kolumbien Projekt-Koordination in der Schweiz: Mirjam Wanner Ambitionen des Projektes

• Das Projekt „Zentrum des Klanges, Rand der Stille„ möch- te die interdisziplinäre und internationale Zusammenarbeit bestärken. Seine Zielsetzung ist es, Grundlagen für zukünftige Kooperationen zu schaffen, wo der Austausch von Wissen und Fähigkeiten, durch eine künstlerische Praxis sowie die Mög- lichkeiten von kollektiver Autorenschaft ausgebaut werden soll. • Das Ziel ist, eine internationale und interkulturelle Korrelation zwischen den städtischen Gebieten von Bogotá, Zagreb und Zürich zu schaffen und durch die Arbeit mit ihrer städtischen Akustik eine neue Lesung von städtischen Einheiten zu eröff- nen. Kroatien • Das Ziel ist, die Öffentlichkeit mit der Arbeit von Künstlern aus Während der Residenz in Kroatien hatten wir die Gelegenheit Kolumbien und Kroatien vertraut zu machen und das Projekt als gemeinsam erste Arbeitsresultate auszustellen. In Kricevzi wäh- ein Forum für interkulturelle Diskussionen und für den Dialog zu rend des Suffest-Festivals im Rahmen von Präsentationen und verwenden. Performances. In der Greta Gallery in Zagreb experimentierten • Das Projekt sucht neue Strategien im urbanen Raum. Durch die wir während einer Woche mit verschiedenen Ausstellungs-Kon- Form von Audio-Notizen (städtische Akustik) versuchen wir uns zepten. Dabei änderten wir jeweils die Ausgangslage zur Mate- auf eine neue Weise im öffentlichen Raum zu engagieren. rial-Präsentation. Innerhalb von drei Abenden beschränkten wir uns einmal auf Video, Audio und Performance als Raster unser • Das Ziel ist, in Bezug auf die situationistische Methode den Material auszuwählen und im Raum zu zeigen. Diese Arbeitsweise öffentlichen Raum, in einem ortsspezifschen, performativen ermöglichte es uns einen Prozess als Gruppe zu initiieren, wie wir Ansatz zu entdecken. unser Material editieren, präsentieren und entsprechende visuelle • Das Projekt zielt darauf ab, das Zuhören als eine neue Methode und auditive Lösungen fnden wollen. des Wahrnehmens gesellschaftlicher und politischer Verhältnis- se in städtischen Räumen vorzuschlagen. Residenz im Merkurgarten in Zürich

Projektentwicklung Mit der Residenz im Merkurgarten inmitten der Stadt Zürich bietet sich eine höchst spannende Ausgangslage für erste Recherchen Kolumbien in der Schweiz. Wir können vom Zentrum ausgehend Material sammeln, Kontakte mit Kunstinstitutionen knüpfen und den Aus- Gestartet ist das Projekt mit der Residenz in Kolumbien im Febru- tausch mit Nachbarn (Jugendmusikschule, Migros), AnwohnerIn- ar 2017, während welcher in der Hauptstadt Bogotá und in Santa nen und NutzerInnen des Gartens sowie einzelnen Fachpersonen Marta recherchiert, Material gesammelt und mit anderen Institu- und interessierten Kunst- und Kulturschaffenden suchen und tionen und KünstlerInnen ausgetauscht wurde. Zusammen mit starten. der Universidad Nacional, und dessen Departement für Bildende Kunst in Bogotá führten Bojan Mucko, Mirjam Wanner und Josip Alle beteiligten KünstlerInnen sollen innerhalb ihrer jeweiligen Zanki eigens dafür konzipierte Workshops durch. Während einer Themen/Auseindandersetzungen Recherchen weiterführen Woche arbeiteten die KünstlerInnen mit je einer Gruppe von fünf und neue Arbeiten produzieren können. Die ganze Gruppe wird bis zehn StudentInnen zu ihren jeweiligen Themen. Die Resultate am Ender der Woche eine spezifsch auf den Merkurgarten ab- dieser Workshops wurden am Ende der Residenz in den Räumen gestimmte Präsentation vorbereiten. Diese soll innerhalb eines des Departements für Bildende Kunst während eines Abends und bestimmten und vorgängig professionell kommunizierten Zeit- ganzen Tages allen StudentInnen, DozentInnen und Interessierten fensters der breiten Öffentlichkeit zugänglich sein. präsentiert. Künstlerische Arbeiten Esneider Gamboa Burbano Method of work: sound research, creation processes and artistic production. Die Texte zu den künstlerischen Arbeiten und Positionen sind in eng- The project of cultural exchange and international cooperation lisch verfasst, da dies die Kommunikationssprache des Projektes ist. „Center of Sound, Margin of Silence“ is a process of continuous feedback, cultural and artistic, which is built from different territo- ries, geographical features and diversity, which produce different sounds and where the communication is established in peculiar ways, leading us to work on our levels of trust and the relation- ships we generate, both physical and of thought.

It represents a challenge in the possibilities of sound investigation within the urban centers and the peripheries, where the staging, the circulation of the proposals or their exhibition, is amplifed with the use of diverse media, social networks, the live transmission of the performances, the interventions, always seeking, to generate an opening of the artistic spaces, an incidence of the creative processes in the daily life of the inhabitants of a space, the people and sentient beings.

Nowadays the public to impact or to link is global and not local, contemplating sound as a transmitter, as a powerful subject, that interrelates with the image, in addition to the game with the body, achieving bets that question the limits of the public and the private, the commercial and the anarchic. This dialogue of art with the daily life of cities, breaks some routines and activates creative energies or processes, from small actions, to group settings, inclu- ding mutual learning, pedagogical and participatory activities.

The arts are the felds of action of cultures, where the continuity or the complement of projects, socializations and workshops, feedback our common and non-common spaces, contributing to the improvement or expansion of universal culture, a culture of respect for life, freedom and balance of our worlds, our environ- Personal or individual project ments. My exploration focuses on video-performance, the generation of live actions, transmitted by video, seeking socialization or the This experience is a physical, dialectical exchange, going through expansion of the project in the different contexts that cross from the hours, the trips, the routines, the mixtures, the richness of each country. I am interested in the investigation into concepts each culture. The investigative and creative process also deals and artistic subjects, as well as the generation of audiovisual ma- with shapes, colors, landscapes, as well as sounds, accents, har- terial, the capture, production and postproduction of the audio- monies and vibrations, something of radionics, how waves or visual, its editing processes, and the collection of audio material, sound frequencies affect our body and health; phonetics, infor- which allows me to explore sound, from silences, the different mation theory and data transmission, is a permanent question languagesor dialects. about how to promote these ways of working in groups, within a project framed in multiculturalism. These experiments are combined with another particular interest, such as the intervention in public spaces, the construction of Discovering and approaching other forms of communication, workshops and the continuation of actions, with the support of from the sign language itself, Braille, the Criollismo method of the group and the public. This has been important for me, since study of the language in the 60s in Latin America, is also recog- I wonder how to intervene in a public space in Colombia, where nizing gaps in native languages and dominant languages, pre- the private is promoted and everything seems to be monitored? senting a signifcant burden on observation, contemplation and This project encourages me to look at new forms of management, amazement, about the sound of these languages. planning, action, work concepts, projection of results.

From Colombia and Latin America the Muisca - Chibcha, Uito- Finally, part of the time of participation in the project, I have to, Tukano, Imara, Quechua, Wayuu, Tikuna, Arhuaco, Spanish dedicated to political research, on a social issue in Colombia, the or Castilian, Kogui, Kuna, Siona, Catio, Pijao, Saliba, Quimbaya, visualization or recognition of the problem of the disappeared. It Wiwa, Cofán, Tunebo, Achagua, Choco, Chami, Embera, Calima, is an approach within the plastic, looking for materials and infor- Guavaro, Guayabero, Piapoco, Tigrero, Guahivo, Guambiano, mation on the disappearances in my country, on the struggle of Paez, Guanano, Baniva, Puinave, Pastures, Sibundoy, Coreguaje, entire families, in all cities, trying to fnd their missing family mem- Makaguaje, Carijona, Idulia, Matapi, Nasa, ... So many living lan- ber, without knowing what happened, without an answer, without guages and almost extinct, they are opposed to the globalizati- a reason, only nothing. How is it possible to establish an art of the on of language, which generates new forms of relationship and body, a performance, an action, where bodies disappear? How to communication in the artistic felds, which sometimes lead us to deal with this confict? So far I have sought in actions to link the mistakenly consider that we already know how to express oursel- strength of the portrait, the live painting, which hints at the im- ves, but we must continue to search and use an infnite number of portance of the image, its elaboration, as a tribute to those ano- ways of communicating and generate culture, or cultures. nymous faces, who have not returned, who do not know where they are. Personally, as a Colombian artist, I am willing to continue and contribute to the group and artistic process that we are dealing with, always trying to make my creative process, audiovisual, body and my thought structures expand, trying to improve the impacts in different felds of my personal artistic production and in the linking of the public.

Thank you.

The following pictures were made during several performances Esneider Gamboa initiated as part of the exhibition week at Greta Gallery in Zagreb.

Tea Hatadi

A series of short videos titled ‚Vibration codes on the surface of the unknown‘ were recorded in one shot of Bogotá street in Co- lombia and in Croatia.

In the frame of the displayed video, the static protective fence of the public transport infrastructure is captured, which by turning the camera itself turns into a dynamically movable body. The movement of the fence through the frame is followed by the sounds collected at various locations of the city and mounted in a mysti- cal way to track the movement of the fence. Just the opposite of the sound that follows the rhythm of the mantras and belongs to some past time creates a hypnotic moment.

The idea of working ‚Vibration codes on the surface of the unknown‘ is to explore familiar and unknown areas and the everyday picture of the space that surrounds us to turn into abstract movable triggers that lead to the past. Sylvia Jaimes and Bojan Mucko

„Por arbitrariedade da língua, entendamos simplesmente que nenhuma razão é imanente à língua, que não há nem língua divina nem língua universal, mas apenas uma massa sonora, que cabe a cada um, de cada vez, tornar signifcativa. Esta arbitrariedade transforma qualquer enunciado, como qualquer recepção, numa aventura que supõe a operação tensa de um duplo querer: um querer dizer e um querer compreender, um e outro sempre ameaçados pela possibilidade de caírem no abismo ordinário da distração, acima do qual se estende a corda bamba da vontade de sentido“ Jacques Ranciére*

We create a conversation that develops between material perceptions of the space in which we are, poetical perceptions of the body of meaning that is being created in a mid air space while were talking, the materialised voice of space, and the dissonant mass that generates with the continuous bouncing of both our voices delaying every possibility of meaning.

This conversation departs from plain kitchen language and navi- gates trough rap repetitions, bird songs and monologues that get in the way of a desired conclusion. We talk in this mid language, not his, not mine mother language, an affected -duty free language marked by the imprints of the strong Rs and of our mother languages. We look for places with particular acoustic properties that in connection with their historical and formal characteristics embed our conversation. Almira Medaric

By going through the city and recording Almira Medaric started to realize that sound is also something that we can see in a picture. The idea of this series of photographs is to visually show the sound of a city through composition and architecture. In Bogotá sound is everywhere and at most dense where the architecture also is. Sometimes the loudness comes from further away, it is in the background. But sometimes it overwhelms you, as does the addition of many types of architecture.

The same can be applied to every city. In Zagreb the artist cons- ciously photographed buildings and houses which expressed the sounds she heard going trough their spaces. Where there is nature to see in the photographs, you would not hear cars or only in the background. Mostly you would imagine voices of people talking, the sound of the wind, or maybe even birds singing.

Goran Skofc

The frst part of my participation at the ‚Center of Sound, Margin of Silcence‘ in Colombia was a presentation of my work in which I use the sound as a main element of my work. In collaboration with the National University of Colombia where I worked for the stu- dents. The second part of my participation is studying the sound differences between three different places and how it infuences the local community. I am in the process of recording this three areas and the main goal is to put this different places in one unit work. One of the fragment of my project I have done is the video called “La cancion” showing a child singing the song of Vallenado Music, really popular in Colombia. Mirjam Wanner

I captured a group of eleven colombian and two croatian indi- viduals in a video, talking about their perception of freedom. My interest and intention is to explore this universal issue which affects all of us. Where are the differences towards the awarness and importance in between the cultural and historical backg- rounds of the protagonists. Are there any overlaps? What means freedom to a young girl in Bogotá, what to a indigene woman from the carribbean coast?

In 2018 I intend to record new interviews in Switzerland and some more in Croatia.

Besides the interviews I also collected sounds and video during the whole process. Like during travelling, moving through the cities, walking the beach or sitting in a church and listening to a priest or people donating money.

The process of bringing this material togehter is still going on.

Links Links https://centerofsound.wixsite.com/project

https://vimeo.com/centerofsound

https://www.youtube.com/watch?v=TaWVSBAvYmg